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I was particularly enthusiastic about Holliger’s first volume in this series (see http://theclassicalreviewer.blogspot.co.uk/2013/12/heinz-holliger-and-wdr.html) and this new issue is no less fine.
Holliger uses an orchestra of the size that Schumann would
have expected when early performances took place in Leipzig and Dusseldorf. In
particular the string sections are smaller than modern orchestras. This
certainly has a significant effect on the clarity of sound.
Those who have acquired the first volume in this series will
be aware that the numbering of Schumann’s symphonies is very misleading. Symphony
No.2 dates from 1845/46 and Symphony No.3 from 1850, effectively making them
the last two to be written.
The Sostenuto assai that opens Symphony
No.2 in C major, Op.61, one of
Schumann’s fine melodies, is nicely paced and mellow, a kind of calm before the
Allegro. There are finely turned phrases from Heinz Holliger and the WDR Sinfonieorchester,
Köln as well as a lightness of touch as the Allegro
ma non troppo arrives, with Holliger gradually building the orchestral
weight. There is some nice pointing up of staccato phrases; indeed, it is
Holliger’s fine phrasing and orchestral rubato that makes this performance so
special. This is music full of vigour. There is a weight to the orchestra but without
any density of textures. Holliger seems to have a thoroughly fresh conception
of this symphony. The WDR Sinfonieorchester have a terrific tautness of
ensemble as well as some really fine instrumental contributions. Holliger
certainly whips up a terrific coda.
The WDR’s strings are on fine form in this almost
Mendelssohnian Scherzo. Allegro vivace,
fleet of foot with Holliger expertly guiding his forces around every twist and
turn. There are two beautifully shaped Trio sections that flow so well.
In the Adagio
espressivo, Holliger gives an emphasis to the orchestral rubato thus
pointing up the expressivo marking. He brings out many details of the
orchestration, often glossed over. The slowly rising theme is allowed a lovely
natural flow yet the transparent textures make it sound fresh and new. When the
rhythmic theme is overlaid by the flowing, rising theme it is beautifully done.
When the rising theme appears a second time it receives added passion, a
beautiful touch.
The orchestra brings
a fine weight to the Allegro molto vivace,
again with fine clarity of texture revealing Schumann’s attractive
orchestration as the theme is shared around the orchestra. There is an appealing
slow section part way through, beautifully shaped, with some very fine
orchestral playing before the affirmative coda.
The Lebhaft of Symphony No.3 in E flat major, Op.97
‘Rhenish’ leaps of the page full of confidence. Such is the clarity of
performance and recording, I don’t think I’ve ever heard some of the orchestral
detail so clearly before. Indeed, this is occasionally disconcerting as one now
clearly hears the line of the music crossing over. Holliger keeps up the drama
with carefully controlled dynamic contrasts which, together with the taut
orchestral playing, lifts this movement. There is a fine horn contribution as
indeed, there is from all the brass in this movement. Holliger and his players
bring such vibrancy to this music.
The Scherzo. Sehr mäßig
has a lovely forward pulse with contrasting, almost balletic, interludes such
is the lightness of touch, with a real sense of freedom towards the coda. These
players bring much character to the third movement, Nicht schnell, with lovely shaping and attention to dynamics. Again
so many fine details emerge.
Gravity arrives in Feierlich
with some lovely harmonies from the WDR Orchestra, particularly the woodwind
and trombones. The way Holliger builds these sonorities, pointed up by the
timpani is very fine, subtly bringing out the drama. The brass chorales are
beautifully done, set against a lovely, quiet orchestral contrast. Holliger
shapes the orchestral sonorities so well. This is terrific playing. A
light-hearted Lebhaft moves off at a
fine pace. Again it is remarkable how Holliger and his players carefully build
the structure leading to the joyful coda.
These terrific new performances are full of so many fine
things and should provide an ideal choice of recording for these works. The
recordings made in the Philharmonie, Köln are absolutely first class and add so
much to the clarity of detail.
With excellent booklet notes this new release must receive
the strongest recommendation.
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